Any production of Norma stands or falls on the performance of the title-role. In this attractive but ultimately bizarre and cold staging, Hasmik Papian proves herself equal to the part’s demands. In a more sympathetic environment she could probably be an outstanding interpreter but she is hampered by director Guy Joosten’s conception.

The action is played as if at a dress-rehearsal of the opera. The three principal singers are shown preparing backstage, unpacking their costumes, applying make-up, and it soon becomes clear that the plot of the opera is being reproduced in their own private lives: the prima donna has the mezzo-soprano as her real-life rival for the tenor’s affection. This is amusing enough during the ceremonial rituals at the beginning of Act 1 but it makes nonsense of the scenes with Norma’s children and robs the opera of any possible dramatic sense. Hugh Smith is a sturdy Pollione, not helped by having to sing his aria wearing gold-plated armour over pinstripe trousers. Irini Tsirakidis as Adalgisa sings her prayer nicely and provides good support for Papian in both their big duets. They don’t seem to be able to manage staccato-in-legato, though, which provides such a thrill in many famous recordings of “Si fino all’ ore estreme”, but given the kitsch staging, with the two women separated on opposite sides of the footlights in front of the red curtain, they do the best they can.

Julian Reynolds conducts the Netherlands CO in a satisfyingly vigorous account of this notoriously difficult score. Reynolds writes an interesting note about the many small cuts and changes Bellini made for the premiere. Once everyone is in costume for the final scene, it is good to look at, with the chorus in Jorge Lara’s variations on Druid garb. I did enjoy watching this but it won’t be replacing the 1974 Orange Festival production with Caballé, Veasey and Vickers as my preferred Norma on DVD (Hardy Classic, 3/03).

The Capuleti e i Montecchi is altogether a more serious affair, and one of the best versions of this opera on disc (the only DVD of it currently available). The edition used is the one Bellini made for La Scala a few months after the Venice premiere in 1830. The main difference is that Friar Lawrence here is a tenor (the excellent Nicola Amodio), and Juliet’s solo in Act 2 is a continuous aria, rather than being punctuated by interjections from her father. Patrizia Ciofi gives this a really passionate performance: she is an ideal Juliet, youthful in appearance, in no way over-extended by Bellini’s long vocal lines. Clara Polito makes a tremendous Romeo, adding some effective flourishes in the cabaletta to her Act 1 aria and joining Danilo Formaggia as Tybalt in an exciting account of their fight duet in Act 2. Federico Sacchi is a thunderous Capulet, and the chorus makes an always positive contribution.

Luciano Acocella and the Orchestra Internazionale d’Italia make the opera sound quite the equal of Bellini’s later, more famous works, but as Wagner wrote of it, “there is true passion and emotion there”. Denis Krief’s production is straightforward and always concentrated on the drama. It is played in modern dress, the Montagues and Capulets obviously on opposite sides in some unforgiving sectarian civil war, the men brandishing machine guns and revolvers. It works extremely well on its own terms, and the setting of the Ducal Palace in Martina Franca makes a perfect backdrop: recommended.